The arrival of Tybalt brings a lot of tension to the scene. Benvolio acts somewhat surprised, and evidently cautiously. Mercutio on the other hand is arrogant, and taunts Tybalt. Tybalt riles Mercutio into drawing his sword, and Benvolio urges them to talk rationally or find some private place. It is apparent that Mercutio is acting very condescendingly toward Tybalt and is looking for a fight: (Line 35) “Make it a word and a blow.” Tybalt also seems confident, but does not want to fight Mercutio, rather, he wants Romeo: (Line 39) “Mercutio, thou consortest with Romeo.”
When Romeo enters, his reaction confirms this: (Line 49) “Well, peace be with you, sir, here comes my man,” Tybalt referring to Romeo, verifying the fact that it is Romeo that Tybalt wants to fight. Tybalt is very cold towards Romeo, and wants to talk to him about the Capulet ball. Tybalt insults Romeo and calls him a villain. Romeo responds very calmly, saying that he has to love Tybalt, as Juliet is Tybalt’s cousin, and tries to avoid conflict: (Line 58) “Therefore farewell, I see thou knowest me not.” At this point Tybalt does not know about the marriage, between Romeo and Juliet, and so cannot understand Romeo’s reluctance to fight. This is dramatic irony, as the audience has seen the marriage, and can see Tybalt’s confusion, as they know something that Tybalt does not. Romeo baffles Tybalt and the others by talking of love, rather than hatred and refusing to accept Tybalt’s challenge.
Tybalt insults Romeo again: (Line 59) “Boy,” and uses the Capulet party as an excuse to fight: (Line 60) “Turn and draw.” Romeo’s predicament causes him a great deal of discomfort during this scene. He does not want to fight Tybalt, Romeo’s dialogue shows this: (Lines 64-65) “And so, good Capulet, which name I tender as dearly as mine own, be satisfied.” Romeo tries to flatter Tybalt to diffuse the situation; whilst at the same time insinuates the fact that he loves a Capulet, the irony of the matter is that Romeo is referring to Juliet. This also is linked with Juliet’s speech on the balcony, as regards to their names not stopping their love. (Lines 43-44) “What’s in a name? That which we call a rose by any other word would smell as sweet.” (Act 2, Scene 2). She refers to the fact that a rose would smell as sweet whatever word we use for it. This emphasises how trivial it seems to fight over a name. Romeo now married to a Capulet, now holds this view. This explanation helps one view the scene as a turning point as it reinforces the fact that Romeo and Juliet’s love may be the only thing that can break this age-old feud between the families.
Romeo’s reluctance to fight is very apparent. The dramatic irony used by Shakespeare is very effective, as the audience knows two things that the characters do not. Firstly, Romeo is Tybalt’s cousin, as he is married to Juliet, and they know too, that Tybalt is looking for a fight with Romeo, but as the scene progresses, Tybalt’s dramatic flaw will lead to his own death.
Tybalt does not know, that by killing Romeo, or Mercutio, as he does, he will be killing his own Kinsmen. Romeo’s reluctance can be seen as Romeo explains he has to love Tybalt: (Lines 55-56) “Tybalt, the reason that I have to love thee, doth much excuse the appertaining rage to such a greeting.” Because of this ‘love’, Romeo must restrain his anger and therefore tries to avoid a fight. Tybalt is furious with Romeo; this is apparent here: (Lines 59-60) “Boy, this shall not excuse the injuries that thou hast done me, therefore turn and draw.” Here a fight is imminent, and Tybalt’s use of the word ‘Boy’ is an insult to Romeo. Tybalt explains that the fact Romeo has ‘injured’ and insulted him, by showing at the Capulet ball, has angered him, subsequently Tybalt wants to fight: (Line 60) “Turn and draw!”
Moreover Benvolio tells Mercutio and Tybalt not to fight in public, the effect that this has on the audience is one of trusting Benvolio as they realize something bad will be a result of the fight if it does take place.
A surprise for the audience during this scene is that Tybalt, in fact duels with Mercutio, which went against their prior knowledge that Tybalt was out for Romeo. This scene can be viewed as important as this duel culminates with the death of Mercutio, Romeo’s Kinsman. Mercutio instigates a fight between the two. Firstly, he begins by saying: (Line 66) “Oh calm, dishonourable, vile submission.” Mercutio is mocking his friend Romeo, and in a way calling him a coward, for his reluctance to fight: “vile submission!” Mercutio sees it dishonourable not to fight for his house, Montague against Tybalt, a member of the Capulets.
Mercutio, capricious as ever, is exasperated by Romeo’s ostensible cowardice and feels honour-bound to take up the challenge. The audience then sees Mercutio insult Tybalt: (Line 68) “Tybalt, you rat catcher, will you walk?” This quote shows Mercutio ridiculing Tybalt’s name, only then asking him to fight, an insult to which Tybalt replies: (Line 69) “What wouldst thou have with me?” Tybalt views Mercutio as a threat but would not like to admit it. As Tybalt set out to fight Romeo, Tybalt has nothing against Mercutio, other than the fact that Mercutio is a Montague. Mercutio challenges Tybalt to a duel. Goaded, Tybalt cannot repudiate. Shakespeare’s use of language adds tension to this particular scene. For example, when Mercutio challenges Tybalt: (Lines 72-74) “Will you pluck your sword out of his pilcher by the ears? Make haste, lest mine be about your ears ere it be out.” Shakespeare shows the audience that Mercutio is not scared of Tybalt, this is shown as Mercutio says that Tybalt had better draw his sword quickly otherwise he would cut off Tybalt’s ears before the sword is out. This use of language, which plants grotesque imagery in the audience’s mind helps to build up the tension in the scene. This is another factor, making this scene a turning point in the play. The tension that builds, results in a duel between Mercutio and Tybalt. Romeo tries to persuade Mercutio not to fight: (Line 76) “Gentle Mercutio, put thy rapier up.” Romeo’s efforts to persuade them otherwise, by reminding them both about how the Prince has forbidden fighting anywhere on the streets of Verona, were in vain. Romeo seeks Benvolio’s help in stopping their fight but, ironically, causes Mercutio to receive his fatal wound. The fight commences, and Romeo steps between the dueling pair. Tybalt stabs Mercutio, under Romeo’s arm, Mercutio dies from his injuries. Mercutio’s death can be seen as a turning point in the play, as it leads to Tybalt’s death, and from there on in events worsen for Romeo. Moreover, whilst Mercutio is dying, he insults both houses: (Lines 82, 91, 97) “A plague a’both your houses.” which he repeats 3 times, emphasising the fact that Mercutio is angry with Romeo and Tybalt. Shakespeare uses this to create tension by playing on the emotions of his Victorian audience, who are well aware that a dying man’s curse is to be taken very seriously indeed.
Mercutio’s death has serious repercussions throughout the scene. It leads to Tybalt’s death, and subsequently Romeo’s banishment. Mercutio again repeats, “A plague a’both your houses!” Insulting Romeo, whom he later blames for his death: (Line 93) (“Why the dev’l came you between us?” We can see Mercutio blames Romeo for his death as he was stabbed underneath Romeo’s arm, so blames him for interfering. Romeo’s excuse: (Line 95) “I thought all for the best.” shows his good intentions to help Mercutio, which turned out to be Mercutio’s undoing.
The effect on Romeo is dramatic and evident, from denial to shock; he turns his attention to Tybalt as he become increasingly furious about Mercutio’s death. Romeo’s realization of what he has to do can be seen before Benvolio re-enters. The audience can see that Romeo is very distraught; he refers to (Line 110) “This day’s black fate,” which is linked to Romeo’s tragic flaw, his belief in fate, and the medieval belief in ‘fortune’s wheel’, Romeo being ‘fortune’s fool’ which determines his bad luck. The audience sees Romeo’s mood change dramatically as Mercutio is killed.
Shakespeare onsets Romeo’s duel with Tybalt soon after Mercutio has been murdered. Romeo despises the hatred between the families and at first; he did not intend to harm Tybalt, as he is now one of his own kinsmen, and Juliet’s cousin. This holds Romeo’s anger back as harming Tybalt would be harming Juliet.
The audience sees Romeo blame Mercutio’s death upon himself: (Lines 101-102) “My very friend, hath got this mortal hurt in my behalf,” Romeo also explains: (Line 110) “This day’s black on more days doth depend”. This shows that Romeo is implying that after this terrible day, darker ones will follow it, again reinforcing Romeo’s ideas about the ‘fortune’s wheel’, and his belief in fate. Tybalt returns and the audience sees Romeo madden: (Line 115) “And fire-eyed fury be my conduct now!” Here Shakespeare uses an image of fire to show Romeo’s anger. Romeo, guided by his hot anger, tells Tybalt, Mercutio’s soul is waiting above their heads for his. Shakespeare shows Tybalt’s defiance of Romeo: (Lines 121-122) “Thou wretched boy, that didst consort him here, shalt with him hence.” Tybalt is sentencing Romeo to death as he is saying Romeo must stay with Mercutio, so therefore has to die.
The Prince was all Godly in Shakespearian times. He had banned fighting in the streets of Verona, and to do so was a great sin, Benvolio, appalled at Romeo, for killing Tybalt, warns Romeo to flee, as he knows the consequences of fighting. Shakespeare uses this to create tension in the scene, and between the characters.
Tybalt’s death has many repercussions; most obviously, Romeo is banished to Mantua, his fatal flaw: ‘fortune’s fool’ which led him to kill Tybalt, as he could not control his anger, results in him being banished. In many ways it also contributes to his own death as when he receives news of Juliet’s death, at the end of the play, he buys poison in Mantua, to end his own life. Tybalt’s death also causes more tension between the two houses and now, Juliet’s chances of getting to see Romeo, and most certainly the possibility of Romeo and Juliet getting to live together, are increasingly slim.
Shakespeare uses the language of ‘Revenge Tragedy’ a type of play very popular in the 1590’s, when Romeo and Juliet was written. In revenge tragedy, the main character, Romeo is a ‘Revenger’ shown when he gets his revenge on Tybalt, by killing him. Romeo’s belief in ‘fortune’s wheel’ which determines one’s fate, can be seen in Act 3, Scene 1: ‘O, I am fortune’s fool’ and also other scenes in the play.
Dramatic irony is present in Act 3, Scene 1, as in the rest of the play, the audience knows Tybalt’s intentions, whereas Romeo does not; dramatic irony is also present when the audience knows that Romeo and Juliet are married whereas Tybalt, Benvolio and Mercutio do not.
In the opening of Act 3, Scene 1, the Kinsmen arguing, is linked to Act 1, Scene 1, where Sampson and Gregory argue, the lighthearted mood at the beginning of both scenes changes dramatically as the tension builds, culminating in a fight.
Shakespeare shows the audience the role of family in society. The two families, Capulet and Montague provide the conflict and tension, which is maybe the greatest cause of all the violence.
Shakespeare also shows us the power of Princes in the play; princes are seen as all-powerful. When Romeo murdered Tybalt, Benvolio was extremely concerned: “Romeo, away, be gone!” as disobeying the Prince is disobeying God, as a Prince is seen as God’s representative on Earth. Benvolio told Romeo to flee, as he went against the Prince’s rules, which were: “If ever you disturb our streets again your lives shall pay the forfeit of the peace.” Shakespeare shows the Prince’s authority, with his very straightforward rules; if you are caught fighting, you shall be killed. Princes were highly regarded in Elizabethan times.
Act 3, Scene 1 is a dramatic enthralling scene, in which the families ‘ancient grudge’ leads to the deaths of two prominent characters. The dramatic effect of this scene is emphasised by the tension and anger that run through it.
